THE THEME OF IRVING KARCHMAR’S MASTER OF THE JINN SEEN FROM THE CHARACTERS AND PLOT

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

THE THEME OF IRVING KARCHMAR’S MASTER OF THE
JINN SEEN FROM THE CHARACTERS AND PLOT

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements
for the Degree of Sarjana Sastra
in English Letters

ROHMANNURSYAWAL SATRIYOWIBOWO
Student Number: 074214072

ENGLISH LETTERS STUDY PROGRAMME
DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS
SANATA DHARMA UNIVERSITY
2014

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

THE THEME OF IRVING KARCHMAR’S MASTER OF THE
JINN SEEN FROM THE CHARACTERS AND PLOT

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements
for the Degree of Sarjana Sastra
in English Letters

ROHMANNURSYAWAL SATRIYOWIBOWO
Student Number: 074214072

ENGLISH LETTERS STUDY PROGRAMME
DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS
SANATA DHARMA UNIVERSITY
2014

i

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

PLAGIAT
PLAGIATMERUPAKAN

MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

“I can control my destiny, but not
my
fate.
Destiny
means
there
are
opportunities to turn right or left, but

fate is a one-way street. I believe we
all have the choice as to whether we
fulfill our destiny, but our fate is
sealed.” ~ Paulo Coelho

“We are going to emancipate ourselves from mental
slavery because whilst others might free the body, none
but ourselves can free the mind. Mind is your only
ruler, sovereign. The man who is not able to develop
and use his mind is bound to be the slave of the other
man who uses his mind...” ~ Marcus Garvey

iv

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

Dedicated to my mother,
the best mother that I ever met in this world.

v

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

vi

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI

TERPUJI

STATEMENT OF ORIGINALITY

I certify that this undergraduate thesis contains no material which has been
previously submitted for the award of any other degree at any university, and that,
to the best of my knowledge, this undergraduate thesis contains no material
previously written by any other person except where due reference is made in the
text of the undergraduate thesis.

vii

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

ACKNOWLEDGEMENTS

In the name of Allah, Lord of the Worlds. I would like to express my
gratitude to Allah for this life and chance for finishing my thesis. All praise is to
Him. His blessing is by giving me kind people and friendly universe around me.
My appreciation goes to my mom for her love, prayer, and support. My thanks also
go to my father.
I also would like to express my thankfulness to my advisor, Drs.
Hirmawan Wijanarka, M.Hum. for his guidance and advice during the process
of doing my thesis. Then my thankfulness goes to my co-advisor, Dewi
Widyastuti, S.Pd, M.Hum. for her correction and suggestion. My thankfulness
also goes for all the lecturers, the secretariat staff of English Letter Department,
and librarians of Sanata Dharma Library.
My thanks are dedicated to whoever takes me as a friend, whether still
exist or already disappear from my days. Then my thanks go to my friends for the
time which spent with me during my study in Sanata Dharma University: Paulus
Gugi Sukma, Martinus Bangkit Riandito, Herman Marhindi, Harry Sucianto,
Risang Hanuraga, Bernadette Denty, Evra Tania N, Gerarda Agriveta C, Veronica
Widosari, Aditya Krisna Rendy. Sincerely you all are always in my heart, because
bring such an unforgetful moments of accompany me.
Finally, for all of the people that I know and know me but their names
could not be written here due to my inability of remembering name. Thank you so

much for encouraging and strengthening me.
Rohmannursyawal Satriyowibowo
viii

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

TABLE OF CONTENTS

TITLE PAGE ...................................................................................................i
APPROVAL PAGE .........................................................................................ii
ACCEPTANCE PAGE ....................................................................................iii
MOTTO PAGE .................................................................................................iv
DEDICATION PAGE .......................................................................................v
STATEMENT OF ORGINALITY ..................................................................vi
LEMBAR PERSETUJUAN PUBLIKASI.........................................................vii

ACKNOWLEDGEMENTS ..............................................................................viii
TABLE OF CONTENTS ..................................................................................ix
ABSTRACT .......................................................................................................x
ABSTRAK ...........................................................................................................xi
CHAPTER I: INTRODUCTION ...................................................................1
A. Background of the Study .........................................................................1
B. Problem Formulation ...............................................................................7
C. Objective of the Study .............................................................................7
D. Definition of Terms .................................................................................8
CHAPTER II: THEORETICAL REVIEW ...................................................10
A. Review of Related Studies .....................................................................10
B. Review of Related Theories ....................................................................12
1. Theories of Character and Characterization........................................12
2. Theories of Plot ...................................................................................14
3. Theories of Theme ..............................................................................18
4. The Relation between Character, Plot, and Theme .............................19
C. Theoretical Framework ...........................................................................20
CHAPTER III: METHODOLOGY ................................................................21
A. Object of the Study .................................................................................21
B. Approach of the Study.............................................................................22

C. Method of the Study ................................................................................24
CHAPTER IV: ANALYSIS .............................................................................26
A. The Characterization in Master of the Jinn.............................................26
1. Ishaq ....................................................................................................26
a. Symphathetic ...............................................................................27
b. Doubful .......................................................................................28
c. Coward ........................................................................................29
2. Shaykh Amir al-Haadi .........................................................................31
a. Polite ...........................................................................................32
b. Attentive ......................................................................................34
c. Humorous ....................................................................................34
ix

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

3. Solomon Freeman ...............................................................................35
a. Skeptical ......................................................................................36
b. Stubborn ......................................................................................37
4. Aaron Simach......................................................................................38
a. Optimistic ....................................................................................40
b. Brave ...........................................................................................40
5. Jasus el-Qulub .....................................................................................41
a. Faithful ........................................................................................44
b. Dependable .................................................................................44
B. The Description of Plot in Master of the Jinn .........................................45
1. Exposition ...........................................................................................45
2. Rising Action ......................................................................................50
3. Climax .................................................................................................56
4. Denouement ........................................................................................57
C. The Theme Derived from the Characters and Plot ..................................61
CHAPTER V: CONCLUSION ........................................................................68
BIBLIOGRAPHY .............................................................................................71
APPENDIX: Summary of Master of the Jinn....................................................73

x

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

ABSTRACT
ROHMANNURSYAWAL SATRIYOWIBOWO. The Theme of Irving
Karchmar’s Master of the Jinn Seen from the Characters and Plot.
Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma
University, 2014.
This thesis discusses a novel entitled Master of the Jinn, which is written
by Irving Karchmar. This novel tells the story of a Sufi master who bids his
disciples and guests to do a journey for finding Solomon‘s Ring. Their journey is
accompanied by the faqir as their guide. The journey is the quest for Solomon‘s
ring which transgresses the country-line to a far place and even the world line to a
Jinn realm, Jinnistan. In the end, the plot reveals the secret behind their journey.
Some of them are the messengers and the others are the witnesses of God‘s
forgiveness. All of them are the travelers on the Path, the Path which has main
destination, God.
In this thesis, there are three main questions to answer. They are (1) How
are the characters described in Irving Karchmar‘s Master of the Jinn? (2) How is
the plot described in Irving Karchmar‘s Master of the Jinn? (3) What are the
theme discovered by the analysis of the characters and plot?
The approach used for analyzing this literary work is New Criticism
approach. The method of this study is library research. The primary source is the
novel entitled Master of the Jinn. The secondary sources are some theses and
some theories quoted from books and internet articles.
The first result is Ishaq is described as a sympathetic, doubtful, and
coward person. The Master is described as a polite, attentive, and humorous
person. Professor Freeman is described as a skeptical and stubborn person.
Captain Simach is described as an optimistic and brave person. The faqir is
described as a faithful and dependable person. The second result is the plot are
when the author describes the situation of the narrator and the introduction of
main characters‘ through flashbacks, then the conflict followed by other conflict
until the Great Assembly of Jinn takes place, then after the battle between
Baalzeboul against Ifrit ends, the Naqib becomes the master in Jinnistan for the
Jinn. The plot shows how the characters face the problems from the beginning
until the end. The third result is the theme of the novel, which are ―overcoming
doubt and fear is the early step for achieving a goal‖.

xi

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

ABSTRAK
ROHMANNURSYAWAL SATRIYOWIBOWO. The Theme of Irving
Karchmar’s Master of the Jinn Seen from the Characters and Plot.
Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma
University, 2014.
Skripsi ini mendiskusikan mengenai sebuah novel berjudul Master of the
Jinn yang ditulis oleh Irving Karchmar. Novel ini mengisahkan tentang Guru Sufi
yang menawarkan para murid dan tamu yang datang ke tarekatnya untuk
melakukan sebuah perjalanan mencari Cincin Sulaiman. Dalam perjalanan mereka
ditemani seorang fakir sebagai penunjuk jalan. Di akhir novel, alur cerita
mengungkapkan rahasia di balik perjalanan mereka. Beberapa dari mereka adalah
para pembawa pesan, dan yang lainnya adalah para saksi dari ampunan Tuhan.
Mereka semua adalah para pejalan dalam tarekat, tarekat yang tujuan utamanya
adalah Tuhan.
Dalam skripsi ini ada tiga pertanyaan utama. (1) Bagaimana para karakter
di novelMaster of the Jinn dideskripsikan. (2) Bagaimana alur cerita di novel
Master of the Jinn dideskripsikan. (3) Tema apa yang ditemukan dari analisis
karakter dan alur cerita.
Pendekatan yang digunakan untuk menganalisis karya sastra ini adalah
pendekatan New Criticism. Metode penelitian ini adalah penelitian kepustakaan.
Sumber utamanya adalah novel yang berjudul Master of the Jinn. Data
sekundernya adalah beberapa tesis dan beberapa teori yang dikutip dari bukubuku dan artikel-artikel internet.
Hasil yang pertama adalah Ishaq digambarkan sebagai seorang yang
simpatik, ragu-ragu, dan penakut. The Master digambarkan sebagai seorang yang
sopan, penuh perhatian dan jenaka. Professor Freeman digambarkan sebagai
seorang yang skeptic dan keras kepala, Kapten Simach digambarkan sebagai
orang yang berani dan optimis. Si fakir digambarkan sebagai seorang yang penuh
yakin dan dapat diandalkan. Hasil yang kedua adalah alur cerita adalah kondisi
awal pencerita dan pengenalan para tokoh utama melalui kilas balik, kemudian
konflik muncul disusuli konflik yang lainnya hingga Majelis Agung berlangsung,
lalu sang Naqib dijadikan guru di Jinnistan setelah pertarungan antara Baalzeboul
melawan Ifrit usai. Alur cerita tersebut menunjukan bagaimana tokoh para
karakter menghadapi permasalahan dari awal hingga akhir cerita. Hasil yang
ketiga adalah tema novel yaitu ―mengatasi ketakutan dan keraguan adalah langkah
awal untuk meraih sebuah tujuan‖.

xii

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

CHAPTER I
INTRODUCTION

A. Background of the Study
Mostly, human experiences become idea and material for literary works.
Therefore, literary work itself illustrates human life. That is why people can learn
a thing or two about human life from all kind of literary work. According to Rene
Wellek and Austin Warren, literary work is the imitation of life and its represent
life as a reality (1956: 96). Even though, the author just making up a story, the
reader will see it as a real human experience that happen at particular time,
regardless the story based on true story or just imagination of the author. Through
a literary work, the author can show their insight and idea to the audience.
One of literary works that is imitating human life is fiction. It is ―any
literary narrative, whether in prose or verse, which is invented instead of being an
account of events that in fact happened‖ (Abrams, 1999: 94). Fiction is not like
news. While news brings the factual reading to be read, fiction brings the fictional
reading. Because news is bound by the time, it can be an historical evidence.
However, fiction is boundless in the matter of time so it only be a sign of a
moment or a piece of lasting art. By reading fiction, the readers can get
entertainment and education. The readers are not only being entertained, but more
than that if they can, they are able to learn some lesson. It may be knowledge,
view, or moral message.

1

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

2

Fiction is a good learning media about human life and life aspects. The
authors of fiction can share something they exclusively understood to be injected
into their works. Therefore, their idea and insight are embodied as the story. The
audience can gain enjoyment and entertainment by reading the author‘s work. It is
also made them understand on certain matters. However, a fiction is a good device
for pastime due to it can free the mind from daily life problems.
Fiction is kind of prose that refers to any written stories, while a work of
fiction is known as a novel. According to Rohrberger and Woods ―novel is a work
of art in so far as it introduces us to a living world‖ (1971: 163). It means, novel
can describe the real life or imaginary life. Things that described in the novel may
beyond our imagination, but those things are only within the author‘s imagination.
The author is the first human of all human who imagine it. Novel describes
fictional characters and events, and even fictional world. The fictional world in
the novel can be found in the novel such as J.K. Rowling‘s Harry Potter, Edgar
Rice Burroughs‘s A Princess of Mars, and J. R. R. Tolkien‘s The Lord of the
Rings
There are so many novels which are inspired by ideas that exist in author‘s
mind, or events which are really happen in author‘s life. Not only that, the author
has ability to put their ideas, perspectives, or experiences in their stories. The
story is created by the imagination of the authors. Because of that, the reader of
the story will deeply understand the story by pretending to see by themselves the
story in their mind.

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

3

Irving Karchmar is the author of the novel analyzed in this study. He is the
son of Holocaust survivors. He is a darvish. Darvish means a 'poor', ―this term is
used by sufis to indicate the poverty that they choose for themselves. In this
respect, not every sufi is a darvish, nor every darvish a sufi‖ (Nurbakhsh, 2011).
He has explained about himself as follows
I am the son of Holocaust survivors and have been a writer, editor and
publisher for many years, and a darvish of the Nimatullahi Sufi Order
since 1992. I have an M.A. in Philosophy from DePaul University in
Chicago, and have worked on such varied magazines as Hustler and the
American Bar Association (ABA) Human Rights magazine. Between 1977
and 1985, I published Fantastic Films magazine. After a lengthy illness
and spiritual experience in 1986, I published my first book, It Was Mostly
You, a collection of poetry. I self-published the critically acclaimed
Master of the Jinn a sufi novel in 2004, and also write the popular blog
Darvish (Karchmar, 2014).
In his novel, Karchmar shows the readers about Path of Love, it is his
faith. He believes that all of religion in this earth comes from one source. There is
no any implication that he wishes his readers to convert into his view or even his
belief. Although in the end of the story, all of his Jewish characters joining the
Path of Love. It is just kind of happy ending story that he used to end his
storytelling as ‗Ishaq the scribe‘. According to Llewellyn Vaughan Lee, Sufism is
―a mystical path of love, emerged in the Muslim world in 18th century in small
groups of seekers who were known as Wayfarers on the Mystical Path‖. In their
deep passion and longing for God they realized Truth as ―The Beloved, and
therefore also became known as The Lovers of God‖ (1995: viii). It is similar to
the words of a character in the novel Master of the Jinn.
Death is inevitable, yet you fear it still. Your worldly selves tremble at the
thought. But a Sufi asks for nothing and fears nothing, for he entrusts his
life to God and gives all he has in humility. (Karchmar, 2004: 28-29)

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

4

However, this novel is not only limited to be read by the Sufis, but for
everybody who is interested in the interfaith legend of religion and culture. This
novel also carries spiritual substances regardless of any religion. Karchmar lends
to the reader his insight about the ring of Solomon. Therefore, the readers who try
to figure out what actually the author wants to share are able to find it in his
characters and theme of his novel.
Many people heard something bad about religion of Islam, especially after
September 11 attacks on symbols of American hegemony in capitalism and
militarism. However, people can see from different points of view about Muslims
from a follower of Sufi order, Irving Karchmar. So people realize that there are
another Muslims which disinterested on wealth and violence. By reading this
novel, the readers are offered with description about the practices of spiritual Path
and the interaction between them in it. The relation between the master and the
students of the Path is illustrated in details. The reader can gain something that
they have not known yet and even something that they have not heard yet.
Master of the Jinn is an interesting novel because the author unites the
stories that are in the Old Testament, the Talmud, the Koran, and the Zohar. He
combines all the pieces of the story from those books into a piece of prose,
without change the essence of the books. This is the first novel of Irving
Karchmar. An editorial review has praised this novel. She says about her way of
reading and the language-style of this novel
It was Lord of the Rings meets the Alchemist, and as fast paced as the Da
Vinci code. The first two books are my all time favorites; so that is saying
plenty! The language is deep, poetic, and layered, textured with so many
meanings, as poetic language always is. There were parts where I had to

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

5

pause, take a deep sigh, and re-read; just for the pleasure of savoring such
beautifully written words (Maliha, 2014).
The review of the novel above shows that Master of the Jinn has language style
that is unusual in a prose. The writer agrees with her, because reading Master of
the Jinn is entertaining while also educating. The entertaining side of the novel is
when the reader getting involved in the characters‘ lives. Next, if the reader also
feel what the characters are feeling, experiencing what the characters are
experiencing, then the educating side of the novel is about to come into the reader
mind. The reader will think as if having same personality with a character in a
novel or even think that he is the character itself.
The author of the novel also puts in some quotations from Sufism poetries,
some philosophers, psalm of David and verses of Koran, which all of those
quotations become forewords for each chapter and hints on the storyline. The
author invited the reader to his world, world of Sufis or darvish. However, this is a
fictional novel about a journey of seven persons to find Solomon‘s ring, the
legendary ring once owned by Jewish king and prophet successor of David. King
Solomon is not only the ruler of a human nation but is also the ruler of the unseen
creature that was known as Jinn. In some literature, the Jinn are other term for
demons or spirits. In a verse of Koran, Solomon praying to God, "My Lord,
forgive me and grant me a kingdom such as will not belong to anyone after me.
Indeed, You are the Bestower." (Koran chapter 38, verse 35). The popular tale
about Solomon is based on the legend that says if he is able to control demons,
wind, animals, and birds under his command by using the ring.

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

6

More about the novel, the journey begins due to the discovery of a
cylinder containing a scroll of papyrus during an intelligence operation by a
Mossad captain, Aaron Simach. Simach wants to find out more about what he
really found is. He meets with Professor Solomon Freeman in order to asking help
for identifying the cylinder. They believe that the papyrus inside the cylinder is
the clue for the location of Solomon‘s ring. As the result, together they go to the
Sufi master‘s house to gain guidance. Furthermore, the Sufi Master who is the
teacher of Ishaq, confirms that the ring is exist and asks them to go on a journey to
find the ring for the bigger purpose to show them something more than just a
journey to find a treasure.
In this study, the writer wants to analyze the characters of Master of the
Jinn, the title seems scary but actually the story of the novel is not horror at all, it
tells about a spiritual journey at the same time as physical journey. However,
character is an important part of a story regardless the character is male, female,
man, animal, or anything who doing act in the story. Everybody say that there is
no story without any character, but they may say that story with no theme is
remains a story. There is so rare that an author writes a story without any theme,
because the story may become such as carcass without soul or ghost without body.
In other words, theme is the heart of the story, if character is a body, so theme is it
soul.
The other intrinsic element that is used in this study is plot. Because it is
also essential to define theme, that‘s why the writer does not exclude plot in the
analysis. Julian Wolfreys states ―the plot is the organization and emphasis that

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

7

shapes the story and its reception, and the order or sequence in which the details
are given.‖ (2005: 94).
Through this study, the writer wants to find theme. Robert Stanton says
that theme is the ―central meaning idea‖ (1965: 4). By looking for the theme of a
novel, the writer get to know the purpose of the novel's making and the valuable
idea that brought by the novel. The writer will not know what the theme of story
is, without see the characters and plot. Fortunately, this novel contains several
significant characters that are useful to find out the theme. That‘s it the main
reason why this novel is chosen. So it is not just because this novel is interesting
to be read so the writer wants to reveal theme in it. The writer hopes this study
will bring more understanding about characters, plot and theme from Irving
Karchmar‘s Master of the Jinn. The writer wishes that someday this study would
be such helpful sources for the further study about this novel or similar novel.
B. Problem Formulation
Considering the background of the study above, the problems are formulated
as follows
1. How are the characters described in Irving Karchmar‘s Master of the Jinn?
2. How is the plot described in Irving Karchmar‘s Master of the Jinn?
3. What is the theme discovered by the analysis of the characters and plot?
C. Objectives of the Study
The aim of this study is to find the theme of the novel by answering the
problems which stated above. Therefore, the writer draws the objective into three
objectives. The first objective is to find out the characters of the novel and

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

8

characterization of them. The writer will try to identify the characteristic of
characters. The second objective is to examine the plot of the novel. By dividing
the whole into particular parts of event and defining the conflicts, it will also
explain how plot supports character in order to find the theme. The last objective
is to reveal the theme of the novel based on its characters.
D. Definition of Terms
There are several terms used in this study, to avoid misunderstanding on
certain terms the writer would provide those terms as:
1. Character
Robert Stanton elaborates that character is the doer who can makes
changes in him or in our perception as the readers toward him (1965: 17).
According to M.H. Abrams, ―characters are the persons represented in a dramatic
or narrative work, who are interpreted by the reader as being endowed with
particular moral, intellectual, and emotion qualities by inferences from what the
persons say and their distinctive ways of saying it; the dialogue, and from what
they do; the action‖ (1999: 32-33).
2. Plot
M.H. Abrams states that ―the plot in a dramatic or narrative work is
constituted by its events and actions, as there are rendered and ordered toward
achieving particular artistic and emotional effects.‖ (1999: 225). He also refers the
term ―plot‖ as ―structure of actions‖. According to Marlies K. Danziger and Stacy
W. Johnson, ―plot is a narrative of motivated action, involving some conflict or

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

9

question which is finally resolved.‖ (1961:19). It means that in a story, there must
be more than one conflict or question.

3. Theme
Theme is ―the central idea in a literary work‖ (Holman and Harmon, 1986:
443). According to Thomas R. Arp and Greg Johnson in Perrine‟s Literature;
Structure, Sound and Sense, theme is the unifying generalization about life which
is stated or implied by the story. They also states if theme is ―controlling idea or
central insight‖ (2009: 191).

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

CHAPTER II
THEORETICAL REVIEW

A. Review of Related Studies
Generally, the purpose of the study is to gain deeper understanding about a
literary work. Besides, it can be the way to show the appreciation of the writer of
a study to the author‘s work. There are some studies that are related to this study.
Master of the Jinn published in 2004 and categorized as a new book in some
bookstores. Actually, the translation for some other language other than Russian,
Turkish, German, Croatian, Spanish, Indonesian, and Malayalam are still in
progress as this study occurred. So the writer uses similar topic as the related
studies.
The first study is ―The Theme of Conscience Seen from Fanny Price
Character Development in Jane Austen‘s Mansfield Park‖ by Erna Wijayanti.
According to the study done by Erna Wijayanti, a student of English Letters Study
Programme of Sanata Dharma University, the possible theme of the novel Jane
Austen‘s Mansfield Park is ―Individual conscience can decide what ought to be
done in one‘s character development‖ (Wijayanti, 2003: 58). This theme is
discovered by analyzing two aspects, the depiction of the central character and the
influence of the environment and people around the central character.
It is taken as one of the related studies because it dealt with the theme of a
novel and focused on the character though her study has the different approach
with this study. The different approach which was used resulted in different

10

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

11

perspective to see the theme. The psychological approach is used in Wijayanti‘s
study. The approach is appropriate because it focused in character‘s development.
Here, I, as the writer of the study that main objective is for revealing the theme of
Irving Karcmar‘s Master of the Jinn, focused in the characterization of the
characters by putting aside other elements except intrinsic elements, and analyzing
merely based on the text of the novel itself. It is the reason for the writer to use
New Criticism approach. Wijayanti‘s study used the character‘s development as
the scope, while this study used the characters and plot.
The second study taken is ―A Study of the Theme and the Characterization
of Female Characters in Pearl S. Buck‘s Pavilion of Women‖ by Evie Tresna
Susan. The main idea of the study done by Evie Tresna Susan, a student of
English Letters Study Programme of Sanata Dharma University, is finding the
theme. In her study, Susan uses sociocultural-historical as her approach though the
aim is also to find the theme of the novel. It is because she believed that a literary
work is created with values of culture and society in particular time that attached
in a literary work itself.
She stated that the theme can be found based on the issues presented in the
novel and the characters‘ attitude toward the issues and the solution which they
offer. She also emphasized that the contrasting opinion between the characters is
used to help finding the theme. The theme that she found is ―the shifting of the
Old Chinese traditions to the New Ones‖ (Susan, 2001). She already knows the
theme at the first time she started her study. She also says that she is interested in
seeking more information about the theme from the contributions of the

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

12

characterization in order to support the theme (Susan, 2001: 3). What she meant is
by understanding of the characterization could strengthen the theme that she
found.
The writer agrees with Susan‘s study in case of the characterization has the
contribution for finding the theme. However, in her study, she uses the
characterization of the characters as the evidences to support the theme that in fact
is the issues that the novel dealing with. The main aim of her study is to show how
the characterization of novel‘s characters help revealing the theme. While in this
study, there is an addition which stressed that the theme is not merely the issues in
the novel, but it is also implicit lesson which will have learned by the characters
and the substance which intend to be conveyed by the novel.
B. Review of Related Theories
In order to answer three problems formulated, it is necessary to apply
several theories as rule and guidance for this study.
1.

Theories of Character and Characterization
Character is person in fiction, whereas characterization is the process to

create character. If a character is a cake, then the characterization is the recipe to
make a cake become as delicious as it can be. According to C. Hugh Holman and
William Harmon, character is ―a brief descriptive sketch of a personage who
typifies some definite quality.‖ Then characterization is ―the creation of characters
so that they exist for the reader as real within the limits of the fiction‖ (1986:81).
M. H. Abrams states two ways of characterization, those are showing and
telling. Showing is a method which ―the author simply presents the characters

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

13

talking and acting‖. It includes ―a character‘s inner thoughts, feelings, and
responsiveness to event‖. Whereas telling is the method which ―the author
intervenes authoritatively in order to describe‖ (1999: 34-35). While showing is
indirectly presented, telling is directly presented by the author.
According to M.J. Murphy, there are some ways of characterization in
more detail as follow
a. Personal Description
The author describes the character by appearances and clothes.
b. Character as seen by another
The author describes the character from the eyes and opinions of the other
characters‘ opinion.
c. Speech
The author describes the character through what characters‘ saying, conversation
with other characters, and giving opinion.
d. Past Life
The author describes the character by letting the reader to know something about
the past of the characters‘ life.
e. Conversation of Others
The author describes the character by conversation of other people and the things
they say about the character.
f. Reactions
The author describes the character by letting the reader to know how that
character reacts to various situations or events.

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

14

g. Direct Comment
The author describes the character directly by comment about the characteristic of
character.
h. Thoughts
The author describes the character by letting the reader to know what the character
think is.
i. Mannerism
The author describes manner and habit of the character (Murphy, 1972: 161-173).
2. Theories of Plot
Holman and Harmon state that ―plot is an intellectual formulation about
the relationships existing among the incidents of a drama or a narrative, it is,
therefore, a guiding principle for the author and an ordering control for the reader‖
(1986: 336). While Abrams states that plot is ―commonly said to have unity of
action if it is apprehended by the reader as a complete and ordered structure of
actions, directed toward the intended effect, in which none of the prominent
component parts, or incidents, is nonfunctional‖ (1999: 226).
According to Abrams, ―in the novel, the modern drama, and especially the
motion picture, such exposition is sometimes managed by flashbacks: interpolated
narratives or scenes (often justified, or naturalized, as a memory, a reverie, or a
confession by one of the characters) which represent events that happened before
the time at which the work opened.‖ (1999: 226-227) Then the rising action or
complication begins after exposition.

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

15

After exposition, the events continue with the developing conflict until the
rising action reaches the climax. The climax is the final crisis. It also means the
reversal or turning point. The crisis starts the falling action which leads to
outcome, a more general term for outcome is denouement, it is when the action or
intrigue ends in a conclusion, the conflicts are settled, the mystery is solved, or the
misunderstanding cleared away. An alternative term for denouement is resolution
(1999: 227). Abrams also says that the denouement involves a reversal, it
frequently depends on the recognition by the characters of something of great
importance until near the end of the work that is unknown to them (1999: 227).
Therefore, plot of a fiction based on can be illustrated in a line chart as bellow
Climax

Rising Action

Denouement
Exposition
The plot is divided into four part, exposition, complication or rising action,
climax, and denouement. The following part is the definition of each plot part
based on A Handbook to Literature.
a.

Exposition

It is ―the introductory material, which creates the tone, gives the setting,
introduces the characters, and supplies other facts necessary to an understanding
of the fiction.‖ (1986: 178) In this part is usually containing flashbacks. Flashback

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

16

is ―a device by which the author present scenes or incidents that occurred prior to
the opening scene of the work. It is a method of presenting exposition
dramatically. Various devices may be used, among them recollections of the
character, narration by the characters, dream sequences, and reveries.‖ (1986:
186)
b.

Rising Action

It is ―the part of plot which has to do with the complication of the action. It begins
with the exciting force, gains interest and power as the opposing groups come into
conflict, and proceeds to the climax or turning point.‖ (1986: 385-386)
c.

Climax

The climax is ―the point of highest interest, the point at which the reader makes
the greatest emotional response. The term used in this sense is an index of
emotional response in the reader. Both narrative and drama have tended to move
the climax, both in the sense of turning action and in that of highest response,
nearer the end of the work‖ (1986: 84) as can be seen in the line chart provided
before. It is also stated that ―climax sometimes occurs at points other than the
crisis.‖ (1986: 85)
d.

Denouement

Denouement is ―the final unraveling of the plot in drama or fiction; the solution of
the mystery; the explanation or outcome. Denouement implies an ingenious
untying of the knot of an intrigue, involving not only a satisfactory outcome of the
main situation but an explanation of all the secrets and misunderstandings
connected with the plot complication‖ (1986: 123)

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

17

In addition, the writer also uses crisis in order to emphasis turning point of
plot, Thus, as state by Holman and Harmon, ―in a fiction or a drama the point at
which the opposing forces that create the conflict interlock in the decisive action
on which the plot will turn.‖ Crisis is applied to the episode or incident wherein
the situation in which the protagonist finds him or herself is certain either to
improve or to grow worse. They also state that ―crisis is essentially a structural
element of plot rather than an index of the emotional response which an event
may produce in a reader or spectator‖. So the difference between crisis and climax
is clear in the matter of the effects. As emphasize d by Holman and Harmon, ―the
actual turning point in the action may result in events which produce climactic
effects without themselves being of compelling interest.‖ It can be conclude that
they do not always occur together (1986: 106).
3.

Theories of Theme
The heart of a story is a theme. Although not a must to be existed in the

story, theme is essentially needed to make a story is worth to read and bring
impression in the reader‘s mind. In A Glossary of Literary Term, theme is ―a
general concept or doctrine, whether implicit or asserted, which an imaginative
work is design to incorporate and make persuasive to the reader‖ (Abrams, 1999:
170). Theme is ―the central or dominating idea in a literary work‖. The further
definition is ―the abstract concept which is made concrete through it
representation in person, action, and image in the work‖ (Holman and Harmon,
1986: 443). Thomas R. Arp and Greg Johnson state six principles of theme are:

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

18

1. The theme must be stated in a statement form and concern with the subject and
predicate.
2. The theme must be a generalization about life.
3. The generalization of the theme should not be larger that is justified by the
term of the story
4. Theme is the central and unifying concept of the story and it must be related to
something that exists inside the story.
5. There is no one way of stating the theme of a story.
6. The theme should not be expressed familiar expression or sentence, because it
will make the essential meaning of the story not conveyed (2009: 195-197).
There are four criteria to interpret the theme of the novel according to
Robert Stanton. Interpretation should consider every prominent detail, should not
contradict with any detail of the story, should not rest upon evidence which is not
clearly stated or implied by the story, should consider some evidences that directly
exist and or suggested in the story (1965: 23).
4. The Relation between Character, Plot, and Theme
Character is a device for plot, but plot is a tool for characterization. There is
mutualism relation between them. Holman and Harmon state that the function of
plot is to translate character into action (1986: 337). They also states that many
critics, particularly in the 19th and 18th centuries, insisted that character and
characterization are more important than plot. The critics believe that plot is just
―a structure designed to display character arranged‖ (1986: 336). If the characters
are the actor, whereas plot is the action therefore the actors can not be separated

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

19

from their action because the writers will get difficulties to fully understand every
act that characters did in the story.
Roger B. Henkle states that the major characters are which get our most
attention rather than any element of the story. So if the reader is able to
understand the major characters, the reader can understand the whole story (1977:
92). The writer agrees with Henkle‘s statement, because minor characters can be
seen through the eyes of the major character. Because the story is about the major,
the minor is just supporting character that sometimes the reader does not give
attention of their significant.
However, in finding theme, the minor character also gives some
contribution to take part as the author‘s tool in presenting the theme. It means that
by giving more attention for the characters and their characteristics, we can
understand the whole story in full detail.
While William Kenney says theme is what the author makes from the total
experience rendered. He also says if character is obviously the major important for
theme (1966: 91-97). In other words, it is from the character that theme can be
found. The theme of the novel is elaborated in a story therefore the theme is not
stated directly as direct doctrines such as in fables which in the end added with the
conclusion explicitly as the central idea of the story. That‘s why the author of the
story uses the characterization to bring his many ideas in some different characters
in a story.
Peter Westland says that every story is considered to be good if contains
theme (1950: 227). However, it is not so bad that there are some stories without

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

20

any theme, but if that so, it can be merely an entertaining story with the missing of
biggest point, which is education. Furthermore, he says, ―many of the best theme
are of course drawn from the character.‖ It shows that character had significant
role for the theme to be revealed.
C. Theoretical Framework
There are several theories applied and used in this study as guidance or
rules. There are theories of character and characterization, theories of theme, and
the relation between character, plot, and theme. All of those theories are used in
order to support in answering the problem formulations.
The theories of character and characterization are used to analyze the
characteristic of the characters from the beginning until the end of the story.
Through this very first analysis, the writer will also try to answer the first problem
formulation of this study.
The theories of plot are used to examine the novel and define each part of
plot. The novel will be divided into four parts which are exposition, rising action,
climax, and denouement.
Based on characters and plot of the novel, theme will be revealed.
Because of that, the theories of theme are helpful to make sure about the meaning
of theme. The understanding of relation between character, plot and theme are
also needed to correlate between theory of character, plot and theme. The writer
will try to find out the theme of Master of the Jinn using all those theories as
guidance to answer the problems in this study.

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

CHAPTER III
METHODOLOGY

A. Object of the Study
The object of this study is the novel by Irving Karchmar entitled Master of
the Jinn. The English edition was published by Bay Street Press in September
2004. This novel consists of 226 pages and is also translated in several languages
such as Russian, Turkish, German, Croatian, Spanish, Malayalam; a language of
the Kerala state of India, and Indonesian. The translated version for some other
language is still in progress as this study occurred. The Russian edition was also
the first publication of this novel, published by Sophia Publishing of Moscow in
2001. The title is also translated into Russian as Povelitel Dzinnov. In Turkish by
Inlan Yayinlari Publishing in 2007 entitled Cinlerin Efendisi. Whereas, in
Indonesian this novel was published by Mizan Pustaka in 2012 entitled Sang Raja
Jin.
This novel tells about a journey to find Solomon‘s Ring. Three Jews and
three followers of Sufi Order attracted to find the legendary ring of biblical king
and quranic prophet, the ruler of unseen creature at his time, Solomon. The
journey begins after an intelligence officer, Captain Simach got visions that he
claim as really happened to him, as a result he found a cylinder made of gold
decorated with gems that is containing a scroll of papyrus. In the papyrus there is
text written in ancient Hebrew language, Canaanitish. Then he consulted to
Professor Freeman about his experience and the cylinder that he found.

21

PLAGIAT
PLAGIATMERUPAKAN
MERUPAKANTINDAKAN
TINDAKANTIDAK
TIDAKTERPUJI
TERPUJI

22

The professor believes that the papyrus is the clue for the location of
Solomon‘s ring. As the result, the captain, the professor, and professor‘s daughter
arranged to meet a Sufi master to gain guidance regarding the scroll.
Furthermore, they visited the Sufi Master who is the teacher of Ishaq, the
narrator of the story, to seek guidance. The Master confirmed that the ring is real
and exist somewhere. Thus, he asked them to go find the ring. Accompanied by
three of his disciples, they began their journey until they realize something more
valuable rather than the power of Solomon‘s ring. Six of them are led by a beggar,
who is mysterious but wise.
It is the story of seven companions tried to do such an impossible mission
finding the Solomon‘s ring and the hidden purpose of the Master to make their
disciples learn about the Mercy of God through the Path of Love.
B. Approach of the Study
Due to this study dealing with character and theme, so the approach
applied in this study is New Criticism. It is an approach that ―ignoring any
information not in the work itself‖ (Guerin, 2005: 16). Furthermore, this approach
ignores �